Acts, the division of a play into five, an ar-
bitrary limitation, 546. These pauses in
representation ought to fall properly, 547.
Adam, his character in Milton's Paradise
- Lost, 536.

Addison, general view of his Essay on the
Pleasures of the Imagination, 24. His
invocation of the muse in his Campaign,
censured, 43. Blemishes in his sty e, 116,
117, 125. Ease and perspicuity of, 129,
130, 132. His beautiful description of light
and colours, 159. Instance of his use of
mixed metaphor, 170. Improper use of
similes, 190. His general character as a
writer, 217. Character of his Spectator,
225. Critical examination of some of
those papers, 226. Remarks on his criti-
cism of Tasso's Aminta, 468, note. His
tragedy of Cato critically examined, 545,
552, 557,559.

Adjectives, common to all languages, 87.
How they came to be classed with nouns,

88.

Adverbs, their nature and use defined, 92.
Importance of their position in a sentence
illustrated, 116.

Eneid of Virgil, critical examination of that
poem, 520. The subject, ibid. Action,
521. Is deficient in characters, ibid. Dis-
tribution and management of the subject,
522. Abounds with awful and tender
scenes. ibid. The descent of Æneas into
bell, 523. The poem left unfinished by
Virgil, 522, 524.

Eschines, a comparison between him and
Demosthenes, 285.

Eschylus, his character as a tragic writer, 561.

Etna, remarks on Virgil's description of that
mountain, 41. And on that by Sir Rich-
ard Blackmore, 42.

Affectation, the disadvantages of it, in public
speaking, 397.

Ages, four, peculiarly fruitful in learned men,
pointed out, 410.

Akenside, his comparison between sublimity
in natural and moral objects, 30, note.
Instance of his happy allusion to figures,
159. Character of his Pleasures of the
Imagination, 476.

Allegory, explained, 173. Anciently a fa-
vourite method of conveying instructions,
174. Allegorical personages improper
agents in epic poetry, 510, 535.
Alphabet of letters, the considerations which
led to the invention of, 73. Remote ob-
scurity of this invention, ibid. The alpha-
bets of different nations derived from one
common source, 74.

Ambiguity in style, whence it proceeds, 115.
American languages, the figurative style of,
64, 156.

Amplification, in speech, what, 198. Its prin-
cipal instrument, ibid.
Anagnorisis, in ancient tragedy, explained,

548.

Ancients and moderns distinguished, 410.
The merits of ancient writers are now
finally ascertained, 411. The progress
of knowledge favourable to the moderns,
in forming a comparison between them,
412. In philosophy and history, 413. The
efforts of genius greater among the an-
cients, 414. A mediocrity of genius now
more diffused, ibid.

Annals and history, the distinction between,
431.

Antithesis in language explained, 193. The
too frequent use of, censured, 194.
Apostrophe, the nature of this figure ex-
plained, 185. Fine one from Cicero, 304,
note.

Arabian Nights' Entertainments, a character
of those tales, 442.

Arabian poetry, its character, 451.
Arbuthnot, character of his epistolary writ-
ings, 440.

Architecture, sublimity in, whence it arises,
49. The sources of beauty in, 50.
Arguments, the proper management of, in a

discourse, 372. Analytic and synthetic
methods, 374. Arrangement of, 375. Are
not to be too much multiplied, 376.
Ariosto, character of his Orlando Furioso,
443 530.

Aristophanes, character of his comedies, 572,
573.

Aristotle, his rules for dramatic and epic
compositions, whence derived, 21. His
definition of a sentence, 113. His ex-
tended sense of the terin metaphor, 163.
Character of his style, 204, 209. His insti-
tutions of rhetoric, 253. His definition of
tragedy considered, 540. His observations |
on tragic characters, 554.

Arithmetical figures, universal characters, 72.
Ark of the covenant, choral service, per
formed in the procession of bringing it
back to Mount Sion, 490.

Armstrong, character of his Art of Preserv-
ing Health, 476.

Art, works of, considered as a source of
beauty, 49.

Articles, in langnage, the use of, 79. Their
importance in the English language illus-
trated, 80.

Articulation, clearness of, necessity in public
speaking, 387.

Associations, academical, recommended, 406.
Instructions for the regulation of, ibid.
Ath-nians, ancient character of, 279. Elo-
quence of, ibid.

Atterbury, a more harmonious writer than
Tillotson, 145. Critical Examination of
one of his sermons. 343. His exordium to
a 30th of January sermon, 364.
Attici and Asiani, parties at Rome, account
of, 289.

Anthors, petty, why no friends to criticism,
21. Why the most ancient afford the
most striking instances of sublimity, 34.
Must write with purity to gain esteem,
101.

B

Bacon, his observations on romances, 442.
Ballads, have great influence over the man-
ners of a people, 441. Were the first
vehicles of historical knowledge and in-
struction, 449.

Bar, the eloquence of, defined, 275. Why
more confined than the pleadings before
ancient tribunals, 297. Distinction be-
tween the motives of pleading at the bar,
and speaking in popular assemblies, 314.
In what respects ancient pleadings differ
from those of modern times, 315. Instruc-
tions for pleaders. 316, 369.
Bards, ancient, the first founders of law and
civilization, 449.

Barrow. Dr., character of his style, 206.
Character of his sermons, 341.
Beaumont and Fletcher, their characters as
dramatic poets, 576.
Beauty, the emotion raised by, distinguished
from that of sublimity, 45. Is a term of
vagne application, ibid. Colour, 46. Fi-
gure, ibid. Hogarth's line of beauty, and
line of grace, considered. 47. Motion,

48.

A landscape the most complete as-
semblage of beautiful objects, ibid. The
human countenance, 49. Works of art,

ibid. The influence of fitness and desigu
in our ideas of beauty, ibid. Beauty in
literary composition, 50. Novelty, 51.
Imitation, ibid.

Bergerus, a German critic, writes a treatise
on the sublimity of Cæsar's Commentanes,
32.

Berkeley, Bishop, character of his Dialogues
on the Existence of Matter, 437.
Biography, as a class of historical composi-
tion, characterized, 431.
Blackmore, Sir Richard, remarks on his de-
scription of Mount Etna, 42.
Blackwall, his character as a writer, 219.
Boileau, his character as a didactic poet, 479.
Bolingbroke, instances of inaccuracy in his
style, 123, 134. A beautiful climax from,
131. A beautiful metaphor from, 164.
His general character as a politician and
philosopher, iid. His general character
as a writer, 220.

Bombast in writing, described, 44.
Bossu, his definition of an epic poem, 500.
His account of the composition of the Iliad,
ibid.

Bossnet, M., instances of apostrophes to per-
sonified objects, in his funeral oratious, 185,
note. Conclusion of his funeral oration on
the Prince of Condé, 384.

Britain, Great, not eminent for the study of
eloquence, 294. Compared with France
in this respect, ibid.

Bruyere, his parallel between the eloquence
of the pulpit and the bar, 329, nole.
Buchanan, his character as an historian, 430.
Building, how rendered sublime, 29.

Cadmus, account of his alphabet, 74.
Cæsar's Commentaries, the style of, charac-
terized, 32. Is considered by Bergerus, as
a standard of sublime writing, ibid. In-
stance of his happy talent in historical
painting, 427, note. His character of Te-
rence the dramatist, 574, note.
Camoens, critical examination of his Lusiad,
530 Confused machinery of, 531.
Campbell, Dr., his observations on English
particles, 86, note.

Carmel, Mount, metaphorical allusions to, in
Hebrew poetry, 492.

Casimir, his character as a lyric poet. 473.
Catastrophe, the proper conduct of, in dra-
matic representations, 548.
Caudina Furce, Livy's happy description of
the disgrace of the Roman army there, 426.
Celtic language, its antiquity and character,

94. The remains of it, where to be found,
ibid. Poetry, its character, 450.
Characters, the danger of labouring them too
much in historical works, 429. The due
requisites of, in tragedy, 553.
Chinese language, character of, 60. And
writing, 72.

('hivalry, origin of, 443.
Chorus, ancient, described, 542. Was the

origin of tragedy, ibid. Inconveniences of,
543. How it might properly be introduced
on the modern theatre. 544.
Chronology, a due attention to, necessary in
historical compositions, 420.

Cicero, his ideas of taste, 10, note. His dis-
tinction between amare and diligere, 108.
His observation on style, 114. Very at-
tentive to the beauties of climax, 131. Is
the most harmonious of all writers, 137.
His remarks on the power of music in ora-
tions, 140. His attention to harmony too
visible, 144. Instance of his happy talent
of adapting sound to sense, 145. His ac-
count of the origin of figurative language,
155. His observations on suiting language
to the subject, 166. His rule for the use
of metaphor, 167. Instance of antithesis
in. 193. The figure of speech called vision,
197. His caution against bestowing pro-
fuse ornament on an oration, 201. His
distinctions of style, 203. His own cha-
racter as a writer, 205. His character of
the Grecian orators, 281. His own cha-
racter as an orator, 287. Compared with
Demosthenes, 289. Masterly apostrophe
in, 304, note. His method of studying the
judicial causes he undertook to plead, 316.
State of the prosecution of Avitus Cluentius,
321. Analysis of Cicero's oration for him,
ibid. The exordium to his second oration
against Rullus, 361. His method of pre-
paring introductions to his oration, 362.
Excelled in narration, 370. His defence
of Milo, ibid. 376 Instance of the pathetic
in his last oration against Verres, 382.
Character of his treatise, De Oratore, 408.
Character of his Dialogues, 436. His
epistles, 439.

Clarendon, Lord, remarks on his style, 121.
His character as an historian, 431.
Clark, Dr., the style of his sermons charac-
terized, 341.

Classics, ancient, their merits now finally set-

tled beyond controversy, 411. The study
of them recommended, 416.
Climax, a great beauty in composition, 131.
In what it consists, 198.
Cluentius Avitus, history of his prosecution,
321. His cause undertaken by Cicero,
ibid. Analysis of Cicero's oration for
him, ibid.

Colours, considered as the foundation of
beauty, 46.
Comedy, how distinguished from tragedy,
539, 668. Rules for the conduct of, 569.
The characters in, ought to be of our own
country, and of our own time, ibid. Two
kinds of, 570. Characters ought to be dis-
tinguished, 571. Style, ibid. Rise and
progress of comedy, 572. Spanish comedy,
574. French comedy, 575. English come-
dy, 576. Licentiousness of, from the era
of the restoration, 577. The reformation
of, to what owing, 579. General remarks,
580.

Comparison, distinguished from metaphor,
162. The nature of this figure explained,
188.

Composition. See Literary composition.
Congreve, the plot of his Mourning Bride
embarrassed, 546. General character of
this tragedy, 567. His comedies, 578
Conjugation of verbs, the varieties of 89,

274.

Copulatives, cautions for the use of them, 126.
Corneille, his character as a tragic writer,

563.

Couplets, the first introduction of, into En-
glish poetry, 458.

Cowley, intances of forced metaphors in his
poems, 167. His use of similes censured,
192. His general character as a poet, 472.
Crevier, his character of several eminent
French writers, 404, nole.

Criticism, true and pedantic, distinguished,
5. Its object, 20. Its origin. 21. Why
complained of by petty authors, ibid.
May sometimes decide against the voice
of the public 22.

Cyphers, or arithmetical figures, a kind of
universal character, 72.

D

David, King, his magnificent institutions for
the cultivation of sacred music and poetry,
489. His character as a poet, 497.
Debate, in popular assemblies, the eloquence
of, defined, 276. More particularly_con-
sidered, 299. Rules for, ibid.
Declamation, unsupported by sound reason-
ing, false eloquence, 299.
Declension of nouns considered, in varions
languages, 83. Whether cases or pre-
positions were most anciently used, 84.
Which of them are most useful and beauti-
ful, 85.

Deities, heathen, probable cause of the num-
ber of, 179.

Deliberative orations, what, 298.
Delivery, the importance of, in public speak-

ing, 306, 385 The four chief requisites
in. 386. The powers of voice, ibid. Ar-
ticulation, 387. Pronunciation, ibid.
Emphasis, 389. Pauses, 390. Declama-
tory delivery, 394. Action, 395. Affec-
tation, 397.

Demetrius, Phalerius, the rhetorician, his
character, 286.

Demonstrative orations, what, 298.
Demosthenes, his eloquence characterized,
279. His expedient to surmount the
disadvantages of his person and address,
283. His opp sition to Philip of Mace-
don, 284. His rivalship with schines,
285. His style and action, ibid. Compared
with Cicero, 289. Why his orations still
please in perusal, 300. Extracts from his
Phillippics, 307. His definition of the
several points of oratory, 385.
Description, the great test of a poet's ima-
gination, 479. Selection of circumstances,
480. Inanimate objects should be en-
livened, 483. Choice of epithets, 485.
Description and imitation, the distinction
between, 53.

Des Brosses, his speculations on the expres-
sive power of radical letters and syllables,
5%, n te.

Dialogue, writing, the properties of, 435. Is
very difficult to execute, ibid. Modern
dialogues characterized, 436.
Didactic poetry, its nature explained, 474.
The most celebrated productions in this

class specified, ibid. Rules for composi-
tions of this kind, 475. Proper embellish-
ments of, ibid.

Diderot, M., his character of English
comedy, 579.

Dido, her character in the Æneid examined,
521.

His

Dionysius of Halicarnassus, his ideas of ex-
cellency in a sentence, 138. His distinc-
tions of style, 203. Character of his
treatise on Grecian Oratory. 282.
comparison between Lysias and Isocrates,
283, note. His criticism on Thucydides,
420.

Discourse. See Oration.

Dramatic poetry, the origin of, 451. Dis-
tinguished by its objects, 539. See Tra-
gedy and Comedy.

Dryden one of the first reformers of our style,
208. Johnson's character of his prose
style, ibid. note. His character as a poet,
459. His character of Shakespeare, 565,
note. His own character as a dramatic
writer, 566, 577.

Du Bos, Abbé, his remark on the theatrical
compositions of the ancients, 139.

E

Education, liberal, an essential requisite for
eloquence, 401,*

Egypt, the style of the hieroglyphical writing

of, 70. This an early stage of the art of
writing, 71. The alphabet probably in-
vented in that country, 73.
Eloquence, the several objects of considera-
tion under this head, 273. Definition of

the term. ibid. Fundamental maxims of
the art, 274. Defended against the ob-
jection of the abuse of the art of persua-
sion, 275. Three kinds of eloquence dis-
tinguished, ibid. Oratory, the highest
degree of, the offspring of passion, 276.
Requisites for eloquence, 277. French
eloquence, ibid. Grecian, 278. Rise and
character of the rhetoricians of Greece,
280. Roman, 286. The Attici and
Asiani, 289. Comparison between Cicero
and Demosthenes, ibid. The schools of the
declaimers, 292. The eloquence of the
primitive fathers of the church, 293.
General remarks on modern eloquence,
294. Parliament, 297. The bar, ibid.
The pulpit, ibid. The three kinds of ora-
tions distinguished by the ancients, 298.
These distinctions how far correspondent
with those made at present, ibid. Elo-
quence of popular assemblies considered,
299. The foundation of eloquence, 300.
The danger of trusting to prepared
speeches at public meetings, 301. Neces-
sary premeditation pointed out, ibid.
Method, 302. Style and expression, 303.
Impetuosity, 304. Attention to decorums,
305. Delivery, 306, 385. Summary, 365.
See Cicero, Demosthenes, Oration, and
Pulpit.

Emphasis, its importance in public speaking,
389. Rule for, ibid.
English language, the arrangements of words
in, more refined than that of ancient

languages, 68. But more limited, ibid.
The principles of general grammar seldom
applied to it, 76. The important use of
articles in, 79. All substantive nouns of
inanimate objects, of the neuter gender,
81. The place of declension in, supplied
by prepositions, 85. The various tenses
of English verbs, 90. Historical view of
the English language, 94. The Celtic the
primitive language of Britain, ibid. The
Teutonic tongue the basis of our present
speech, 95. Its irregularities accounted
for, ibid. Its copiousness, 96. Compared
with the French language, ibid. Its style
characterized,97. Its flexibility, ibid. Is
more harmonous than is generally allowed,
98. Is rather strong than graceful, ibid.
Accent thrown farther back in English
words than in those of any other language,
ibid. General properties of the English
tongue, 99. Why so loosely and inaccul
rately written, ibid. The fundamenta-
rules of syntax, common to both the En-
glish and Latin, 100. No author can
gain esteem if he does not write with
purity, 101. Grammatical authors recom-
mended, ibid, note.

Epic poetry, the standard of, 415. Is the
highest effort of poetical genius, 499. The
characters obscured by critics, 500. Ex-
amination of Bossu's account of the for-

mation of the Iliad, ibid. Epic poetry
considered as to its moral tendency, 502.
Predominant character of, ibid. Action
of, 503. Episodes, 504. The subject
should be of remote date, 505. Modern
history more proper for dramatic writing
than for epic poetry, 506. The story must
be interesting and skilfully managed, ibid.
The intrigue, ibid. The question con-
sidered whether it ought to end success-
fully, 507. Duration of the action, ibid.
Characters of the personages, 508. The
principal hero, ibid. The machinery, 509.
Narration, 510. Loose observations, 511.
Episode, defined with reference to epic
poetry, 504. Rules for conduct of, ibid.
Epistolary writing, general remarks on, 437.
Eve, her character in Milton's Paradise
Lost, 537.

Euripides, instance of his excellence in
the pathetic, 558, note. His character as
a tragic writer, 561.
Exclamations, the proper use of, 561. Mode
of their operation, ibid. Rule for the em-
ployment of, ibid.

Exercise improves both bodily and mental
powers, 11.

Exordium of a discourse, the objects of, 360.
Rules for the composition of, 362.
Explication of the subject of a sermon, ob-
servation on, 371.

remarks on the composition of a sermon,
367. Critical examination of his adven-
tures of Telemachus, 532.
Fielding, a character of his novels, 445.
Figurative style of language defined, 149. Is
not a scholastic invention, but a natural
effusion of imagination, 150. How de-
scribed by rhetoricians, 151. Will not
render a cold or empty composition in-
teresting, 152. The pathetic and sublime
reject figures of speech, 153. Origin of,
ibid. How they contribute to the beauty
of style, 157. Illustrate description, 158.
Heighten emotion, ibid. The rhetorical
names and classes of figures frivolous, 160.
The beauties of compositions not de-
pendent on tropes and figures, 199.
Figures must always rise naturally from
the subject, 200. Áre not to be profusely
used, ibid. The talent of using derived
from nature and not to be created, 202. If
improperly introduced, are a deformity,
201, note. See Metaphor.

Figure, considered as a source of beauty, 46.
Figures of speech, the origin of, 62.

Figures of thought, among rhetoricians, de-
fined, 151.

Fitness and design, considered as sources of
beauty, 50.

Fleece, a poem, harmonious passage from,
148.

Fontenelle, character of his Dialogues, 437.
French, Norman, when introduced into En-
gland, 95.

French writers, general remarks on their
style, 206. Eloquence, 277, 294. French
and English oratory compared, 295.
Frigidity in writing characterized, 44.

G

Its

The

Gay, a character of his pastorals, 468.
Gender of nouns, foundation of, 80.
Genius distinguished from taste, 23.
import, ibid. Includes taste, 24.
pleasures of the imagination, a striking
testimony of divine benevolence, 25.
True, is nursed by liberty, 277. In arts
and writing, why displayed more in one
age than in another, 409. Was more
vigorous in the ancients than in the
moderns, 411. A general mediocrity of,
now diffused, 414.

Gesner, a character of his Idylls, 467.
Gestures, in public oratory. See Action.
Gil Blas, of le Sage, character of that novel,
444.

Girard, Abbé, character of his Synonymes
Francois, 111, note.

Gordon, instances of his unnatural disposi-
tion of words, 129.

Gorgias, of Leontium, the rhetorician, his
character, 281.

Gothic poetry, its character, 450.
Gracchus, C., his declamations regulated by
musical rules, 139.

Grammar, general, the principles of, little
attended to by writers, 76. The division
of the several parts of speech, 77. Nouns
substantive, 78. Articles, 79. Number,
gender, and case of nouns, 80. Preposi-
tions, 83. Pronouns, 86. Adjectives, 87.
Verbs, 88. Verbs the most artificial and

Habakkuk, sublime representation of the
Deity in, 34.

Harris, explanatory simile cited from, 189.
Hebrew Poetry, in what points of view to be
considered, 487. The ancient pronuncia-
tion of, lost, 488. Music and poetry early
cultivated among the Hebrews, ibid. Con-
struction of Hebrew Poetry, 489. Is dis-
tinguished by a concise, strong, figurative
expression, 491. The metaphors employed
in, suggested by the climate and nature of
the land of Judæa, ibid. Bold and sublime
instances of personification, 495. Book of
Proverbs, 496. Lamentations of Jeremiah,
ibid. Book of Job, 498.

Helen, her character in the Iliad examined,
515.

Hell, the varions descents into, given by

epic poets, show the gradual improvement
of notions concerning a future state, 533.
Henriade. See Voltaire.

Herodotus, his character as an historian,
206, 420.

Heroism, sublime instances of, pointed out,

29.

Hervey, character of his style, 212.
Hieroglyphics, the second stage of the art of
writing, 70. Of Egypt, 71.

Historians, modern, their advantages over
the ancient, 413. Ancient models of, 415.
The objects of their duty, 417. Character
of Polybius, 418. Of Thucydides, 419.
Of Herodotus and Thuanus, 420. Primary
qualities necessary in a historian, 421.
Character of Livy and Sallust, 422. Of
Tacitus, ibid. Instructions and cautions
to historians, 423. How to preserve the
dignity of narration, 424. How to render
it interesting, 425. Danger of refining too
much in drawing character, 429. Charac-
ter of the Italian historians, ibid. The
French and English, 430.

History, the proper object and end of, 417.
True, the characters of, ibid. The dif-
ferent classes of, ibid. General History,
the proper conduct of, 418. The neces-
sary qualities of historical narration, 421.
The propriety of introducing orations in
history examined, 428. And characters,
429. The Italians the best modern his-
torians, ibid. See Annals, Biography,
Memoirs, and Novels.

Hogarth, his analysis of beauty considered,

47.

R R